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Provides new theatrical contexts for Romantic-period literary writing, reframing the relationship between theater and poetry in Regency London.
Irregular, Doubtful, and Emended Accidentals in F1 In the Textual Notes, the lemma is the reading of this edition's text. In these notes, for emendations to F1, the lemma is followed by the siglum or sigla of the edition(s) from which the emendation is taken, and then by the rejected F1 reading and the siglum or sigla of the 17th-c. editions reading differently from the lemma. Where no source is given for the emendation, the adopted reading is not in any of the folios. Doubtful and irregular readings are merely listed. (ǀ) indicates that the reading is found in a full line, i.e., one that runs all or nearly all of the way to the right margin; (?) indicates doubt or an alternative to the reading adopted, although not necessarily correct in the judgment of the editor. Elsewhere means that a spelling other than that in the lemma is to be found wherever else that word appears in the F1 text.
This 1958 book forms the second part of a two-volume edition of Keats's letters, covering 1819 to 1821.
A Shakespearean actor whose sex life was known and discussed in Britain, America and France, Edmund Kean has inspired numerous writings, many biographies among them. But until now, no work has tackled the complicated and fascinating story of his literary appropriation. Dealing with the way a variety of canonical authors-including Byron, Coleridge, Keats, Dumas, Twain and Sartre-appropriated Kean through the centuries, this study traces a remarkable literary and performative legacy.
Originally published in 1961, this book is a study of the ways actors since the time of Shakespeare have portrayed the character of Shylock. A pioneering work in the study of performance history as well as in the portrayal of Jews in English literature. Specifically it studies Charles Macklin, Edmund Kean, Edwin Booth, Henry Irving and more recent performers.